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Die Zeitschrift ‚Kunst Dem Volk'. Populärwissenschaftliche Kunstliteratur Im National- Sozialismus Und Ihre Parallelen in Der Akademischen Kunstgeschichtsschreibung

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Die Zeitschrift ‚Kunst Dem Volk'. Populärwissenschaftliche Kunstliteratur Im National- Sozialismus Und Ihre Parallelen in Der Akademischen Kunstgeschichtsschreibung DISSERTATION Titel der Dissertation „Die Zeitschrift ‚Kunst dem Volk‘. Populärwissenschaftliche Kunstliteratur im National- sozialismus und ihre Parallelen in der akademischen Kunstgeschichtsschreibung“ Verfasserin Mag. phil. Christina Schedlmayer angestrebter akademischer Grad Doktorin der Philosophie (Dr. phil.) Wien, im Mai 2010 Studienkennzahl lt. Studienblatt: A 092 315 Dissertationsgebiet lt. Studienblatt: Kunstgeschichte Betreuer: Ao. Prof. Doz. Dr. Peter Haiko Meinen Eltern Brigitte und Herbert Schedlmayer Inhalt Einleitung .................................................................................................................................................. 1 1. Die Zeitschrift Kunst dem Volk, ihr Herausgeber und ihre Autoren .................................................. 4 1.1. Eckdaten, Blattlinie und Forschungsstand ................................................................................ 4 1.1.1. Die Zeitschrift Kunst dem Volk (1939 bis 1944) .................................................................... 4 1.1.2. Blattlinie ............................................................................................................................. 6 1.1.3. Forschungsstand ............................................................................................................... 10 1.2. Der Herausgeber: Heinrich Hoffmann............................................................................................ 12 1.2.1. Biografie ............................................................................................................................... 12 1.2.2. Die Firma Heinrich Hoffmann ................................................................................................ 14 1.2.3. Heinrich Hoffmanns persönliche und ideologische Verbindungen zu Adolf Hitler und der NSdAP ............................................................................................................................................ 15 1.2.4. Heinrich Hoffmann und die bildende Kunst ........................................................................... 18 1.3. Autoren von Kunst dem Volk.................................................................................................. 20 1.3.1. „Hauptschriftleiter“ Karl Strobl .............................................................................................. 20 1.3.2. Schriftleiter Heimo Kuchling .................................................................................................. 23 1.3.3. Bruno Grimschitz .................................................................................................................. 25 1.3.4. Gert Adriani, Hans Ankwicz-Kleehoven, Walther Buchowiecki, Franz Ottmann, Anna Spitzmüller ..................................................................................................................................... 28 1.4. Vorläufer- und Nachfolge: Österreichische Kunst und Kunst ins Volk ............................................. 32 1.4.1. Österreichische Kunst: Von den Zeitgenossen zur Propagandakunst ....................................... 32 1.4.2. Kunst ins Volk........................................................................................................................ 38 2. Die Methodik der „Kunstgeographie“ in der Kunstliteratur im Nationalsozialismus ........................... 44 2.1. Kunst und Landschaft in Kunst dem Volk ....................................................................................... 45 2.1.1. Natur, Architektur und Kunst als Einheit ................................................................................ 45 2.1.2. Die Landschaft als Lehrmeisterin ........................................................................................... 51 2.1.3. Landschafts-Charaktere......................................................................................................... 55 2.2. Kunstgeographie in der populärwissenschaftlichen Kunstliteratur im Nationalsozialismus ............. 57 2.3. Kunstgeographie im akademischen Diskurs ................................................................................... 60 2.3.1. Der „XIII. internationale Kongreß für Kunstwissenschaften“ in Stockholm 1933 ..................... 60 2.3.2. Forderungen und Widersprüche: Kurt Gerstenberg, Herbert von Einem, Paul Pieper, Wilhelm Pinder ............................................................................................................................................ 65 2.4. Resümee ...................................................................................................................................... 69 3. Zuschreibungen an das „Deutsche“, „Germanische“ und „Nordische“ ................................................ 71 3.1. Zuschreibungen an das „Deutsche“ und „Nordische“ in Kunst dem Volk ........................................ 71 3.1.1. „Vorliebe für das Heim“ und „Fabulierlust“: Dominanz der Grafik .......................................... 71 3.1.2. „Im Gemüt ergriffen“: Tiefsinnigkeit, Melancholie, Mystik ..................................................... 77 3.1.3. „Wo wir höhere Einordnung erwünschen...“: Naturverbundenheit ........................................ 84 3.2. Das „Deutsche“ und „Nordische“ in der Kunstgeschichtsschreibung und -literatur seit Heinrich Wölfflin............................................................................................................................................... 88 3.2.1. Forschungsstand ................................................................................................................... 88 3.2.2. Die deutsche Grafik: Heinrich Wölfflin, Heinrich Lützeler, Wilhelm Pinder ............................. 91 3.2.3. „Verstand nicht einzig als Führer“: Antirationalismus und Verinnerlichung bei Julius Langbehn, Heinrich Wölfflin und anderen ........................................................................................................ 94 3.2.4. „Mensch und Natur in einem inneren Zusammenhang“: Naturhafte Entgrenzung bei Hans Jantzen, Wilhelm Pinder und Karl Oettinger .................................................................................. 100 3.3. Resümee .................................................................................................................................... 107 4. Die Kunst der „Ostmark“ ................................................................................................................... 109 4.1. Die „Ostmark“ in Kunst dem Volk ............................................................................................... 112 4.1.1. Das austriakische Gemüt: Musikliebend, beschwingt, charmant .......................................... 112 4.1.2. Die Anti-Moderne ............................................................................................................... 115 4.1.3. Visionäre Landschaften ....................................................................................................... 118 4.1.4. Bedeutung österreichischer Kunst für „Großdeutschland“ ................................................... 122 4.2. Die „Ostmark“ in der akademischen Kunstgeschichtsschreibung ................................................. 128 4.2.1. Exkurs: Hans Sedlmayr und seine Rolle im Nationalsozialismus ............................................ 128 4.2.2. Die „Ostmark“ bei Sedlmayr: Barock, synthetisch, volksnahe ............................................... 130 4.3. Die Ostmark in der populärwissenschaftlichen Kunstgeschichtsschreibung: Bruno Grimschitz, Karl Oettinger .......................................................................................................................................... 140 4.4. Resümee .................................................................................................................................... 151 5. Das Bild vom Künstler ....................................................................................................................... 152 5.1. Persönliche Qualitäten des Künstlers in Kunst dem Volk .............................................................. 152 5.1.1. Volksverbundenheit ............................................................................................................ 152 5.1.2. Fleiß als zentrale Künstlertugend......................................................................................... 159 5.1.3. Der Künstler als Aufrührer und Kämpfer für das „Wahre“ .................................................... 163 5.2. Exkurs: Künstlermythen seit der Antike ....................................................................................... 170 5.3. Künstlerbilder in der NS-Kunstgeschichtsschreibung .................................................................... 175 5.3.1. Heimattreu und pflichtbewusst ........................................................................................... 176 5.3.2. „Muster oberdeutschen Kunstfleißes“ ................................................................................. 184 5.3.3. Der Künstler als Revolutionär und Vorbild ........................................................................... 185 5.4. Resümee .................................................................................................................................... 189 6. Schlussbetrachtung ........................................................................................................................... 190 Bibliografie ..........................................................................................................................................
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